Art historians both hate and need “movements.” On the one hand, they like to classify artworks and line up groups of diverse artists into nice linear narratives—what we call the “canon.” But this canon doesn’t always run in the progressive and homogenous way history would like. The Western canon is constantly breaking as peripheral artists begin to surface from history's repressions in the wake of post-colonialism and globalization. Phaidon’sArt in Time is an extensive anthology of global art movements that situates these “outsider” movements within the “grand” history from which they were excluded—spanning from Indian Pharai painting to Bay Area Funk in California during the 1960s (yes, artistic centers did exist outside of New York in the 1960s!) Below, excerpted from Art in Time, we’ve chosen three 19th-century painting movements we’d never heard of, but wish we had.

Yōga Painting

Fujita Tsuguharu, Reclining Nude with Toile de Jouy, 1922

The history of Japanese Western painting, or Yōga, predates the modern era. The earliest artworks in the “Western style” (yōfūga) were created following the arrival of European Jesuits in the sixteenth century, though production in this mode had all but died out by the mid-seventeenth century. With the vogue for Western science (rangaku, literally “Dutch studies”) in the eighteenth century came a renewed, though marginal, artistic practice influenced by Western methods and media that lasted into the early nineteenth century; Western influence can also be seen in nineteenth-century prints by such artists as Katsushika Hokusai (c.1760–1849). But it was with the adoption of the European concept and system of the fine arts in the late nineteenth century that Yōga truly came into its own. As an essential component of an emerging Japanese national art, Yōga was transformed from a scientific, utilitarian tool of dubious aesthetic merit to an ambitious artistic arena for elucidating national character and demonstrating Japanese mastery of international (Western) cultural standards. Such was the work of painter, educator and arts administrator Kuroda Seiki (1866–1924), who in works such as Under the Trees combined identifiably Japanese subject matter with an Impressionism-inflected academicism learned in Paris.

Like its neo-traditional counterpart Nihonga, Yōga has been primarily defined by medium and format, in this case those central to the European tradition—oils on canvas or (less often) watercolors, pastels and pencil on paper. The “foreign” derivation and materials of Yōga frequently posed a hurdle for oil painters, who were criticized, especially abroad, for their departure from Japanese “tradition,” lack of cultural authenticity and lack of originality; such criticism largely stemmed from cultural chauvinism and an orientalist desire for difference that has rarely been fulfilled by Japanese works in oils. The early twentieth-century effort by Yōga artists to adopt materials, formats, and subjects more closely associated with Nihonga and with Japanese premodern painting traditions was one answer to this dilemma, and considerable stylistic overlap existed between Yōga and Nihonga in the 1920s and 1930s. Paintings in this vein by Fujita Tsuguharu (1886–1968), such as Reclining Nude with Toile de Jouy, met with great acclaim in Europe. They combine oils with mineral pigments and other materials proper to Nihonga to achieve a new vision of the nude, a traditionally European genre. The simultaneous exploration by Yōga artists of the two supposedly antithetical painting modes of Yōga and Nihonga was also related to the influence of Japanese painting and printmaking on European painting styles, and the fact that the line between Eastern and Western artistic traditions had already been blurred for generations.

Kuroda Seiki, Under the Trees, 1897

Yōga’s place in the cultural consciousness was cemented with the onset of the Pacific War (1941–45), when in large-scale “war record paintings” (sensō kirokuga) oil painters resuscitated Western-style history painting to aggrandize the Japanese war effort. In the decades following the immediate post-war period, as artistic media diversified both overseas and in Japan, Yōga became increasingly inward-looking and conservative, an easel painting of the Japanese establishment that remained squarely in the tradition of prewar painting trends.

Nabis

Paul Sérusier, The Talisman: The Aven River at the Bois d'Amour, 1888

The fin de siècle witnessed a growing fatigue with the emphasis on perceptual phenomena that concerned the Impressionists, and that disenchantment saw an increase in the subjective interpretation of visual information, of sensations and ideas, and of the formal characteristics of the picture.

Maurice Denis (1870–1943), along with several other students who studied at the Académie Julian, including Pierre Bonnard (1867–1947), Édouard Vuillard (1868–1940), Paul Ranson (1864–1909), and Paul Sérusier (1864–1927), banded together in late 1888 to form an artistic alliance that was subsequently dubbed the Nabis, from the Hebrew word meaning “prophet.” The Nabis viewed themselves as a brotherhood and as seers, moving beyond the world of mere appearances to reveal something more profound. Sérusier was heavily influenced by the time he had spent with Paul Gauguin in Pont-Aven during the summer of 1888. Exposed to Gauguin’s Synthetist ideas, he had eschewed objective rendering in favor of bold simplification of form, an emphasis on the decorative patterning of flat areas of color and the subjective deformation of nature. The result of his experiments with Gauguin’s Synthetist teaching can be seen in The Aven River at the Bois d’Amour, painted on a cigar box top. Subsequently dubbed The Talisman by his fellow Nabis, the painting retains enough reference to reality as to be identifiable, but only just. According to Denis, Gauguin instructed Sérusier to deviate from a mimetic use of color: “How do you see these trees? They are yellow. Well, then, put down yellow. And that shadow is rather blue. So render it with pure ultramarine. Those red leaves. Use vermilion.” The row of trees lining the path that cuts diagonally in from the left helps to orientate the viewer, but spatial recession is denied by the radical simplification of details, broad areas of bold color, and equalizing of the solid objects and their reflection in the water in the lower half of the picture.

Maurice Denis, Landscape with Green Trees, 1893

Denis’ own works also reflect the emphasis on the two-dimensional surface and a renewed appreciation for decorative patterning. His Landscape with Green Trees demonstrates extreme simplification, bold, non-mimetic color and absence of modeling that emphasizes the pictorial surface. A procession of white-clad figures glides through the pale trees, towards a wall where one of their group encounters an angel. The lack of narrative and objective detail contribute to the painting’s evocative quality.

While there are overlapping concerns between the Nabis and Symbolism more broadly, many of the artists associated with the former were also interested in expanding decorative painting to the architectural interior, an interest shared with Art Nouveau artists. In 1894, Vuillard was commissioned to produce nine panels for the Paris residence of Alexandre Natanson, a founder of the avant-garde journal La Revue Blanche, to which Vuillard provided lithographs. Vuillard’s Girls Playing is insistently decorative, a quality emphasized by the vertical panel, minimal detail, unmodulated patches of matte color, and relatively high horizon line. While the nine panels function admirably as independent works, each picture’s corresponding horizon line and the repetition of foliage links them, a testament to Vuillard’s exquisite design sense.

Juste Milieu

Horace Vernet, The Duc d'Orléans on His Way to the Hôtelde-Ville, 31 July 1830, 1832

Reference to the Juste Milieu art movement is often made to designate some of the art produced during the July Monarchy of Louis-Philippe in France (1830–48), especially works that seem to attempt a harmonious synthesis of opposites. Louis-Philippe, the Duc d’Orléans, ascended to the throne after the abdication of Charles X, following the uprisings immortalized by Eugène Delacroix in his monumental July 28: Liberty Leading the People, shown in the Salon of 1831. Louis-Philippe set a new political tone; because he did not rule by divine birthright, his reign was conciliatory, attempting to appeal to all parties, and was referred to as the “ideal compromise,” or juste milieu.

As a stylistic designation, Juste Milieu is not an unproblematic term, but in general it signals an art that eschews extremes in favor of a historically synthetic approach. Charles Baudelaire quipped that the artists of the July Monarchy might be grouped into “linearists, colorists, and doubters,” though art critic and painter Henri Delaborde, referring specifically to Paul Delaroche (1797–1856), might be more illuminating: “Between the apostles of regeneration to excess and the stubborn defenders of the past, a third party was formed, that of the moderates.” Delaroche’s Execution of Lady Jane Grey depicts the beheading of the young Protestant Jane Grey in the Tower of London on 12 February 1554. His choice of subject and moment, as well as the composition, seem intended to maximize the sense of pathos. The blindfolded martyr is centrally placed just before the executioner’s block; the executioner himself stands with his hand just grazing the handle of his axe. Two ladies in waiting are depicted in the throes of grief, presenting a stark contrast to the nonchalance of the executioner. Delaroche’s painting demonstrates a scrupulous attention to historical accuracy in terms of costume and architectural setting, and yet has about it a quality of stylistic neutrality that places it in a different camp than either the emotionally charged romanticism or the high-minded didacticism of the Davidian school of Neo-Classicists, though it draws upon both. The tripartite architectural division in the background of the shallow space may be an oblique reference to the triple arches of David’s Oath of the Horatii. But while David’s paintings make grand statements about civic obligation and righteousness, Delaroche’s work reads more like a theatrical staging or a historical genre painting than a history painting in the Grand Manner.

Paul Delaroche, Execution of Lady Jane Grey, 1833

This more anecdotal nature can also be found in the work of Horace Vernet (1789–1863). The Duc d’Orléans on his Way to the Hôtel-de-Ville, 31 July 1830, shown in the Salon of 1833, provides an instructive contrast not only with Delacroix’s painting of events related to the July Revolution, but also with Baron Gros’ great propagandistic glorifications of Napoleon, such as the 1808 Battle of Eylau, to which Vernet makes reference in the general composition and the specific pose of the leader on horseback. But while all aspects of Gros’ painting exalt Napoleon, Vernet delights in a proliferation of anecdotal detail that relegates the Duc to the middle ground. Vernet’s painting, commissioned by Louis-Philippe, is not devoid of a political message, but its ideology is muted in favor of harmonious compromise.

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Product names, logos, designs, titles, graphics, words or phrases may be protected under law as the trademarks, service marks or trade names of Artspace LLC, or other entities. Such trademarks, service marks and trade names may be registered in the United States and internationally.

Without our prior written permission, you agree not to display or use our trademarks, service marks, trade names, other copyrightable material or any other intellectual property in any manner.

Links from and to the Site

You may be able to link to third party websites ("Linked Sites") from the Site. Linked Sites are not, however, reviewed, controlled or examined by us in any way and we are not responsible for the content, availability, advertising, products, information or use of user information or other materials of any such Linked Sites, or any additional links contained therein. These links do not imply our endorsement of or association with the Linked Sites. It is your sole responsibility to comply with the appropriate terms of service of the Linked Sites as well as with any other obligation under copyright, secrecy, defamation, decency, privacy, security and export laws related to the use of such Linked Sites and any content contained thereon. In no event shall we be liable, directly or indirectly, to anyone for any loss or damage arising from or occasioned by the creation or use of the Linked Sites or the information or material accessed through these Linked Sites. You should direct any concerns to that site's administrator or Webmaster. We reserve the exclusive right, at its sole discretion, to add, change, decline or remove, without notice, any feature or link to any of the Linked Sites from the Site and/or introduce different features or links to different users.

Permission must be granted by us for any type of link to the Site. To seek our permission, you may write to us at the address below. We reserve the right, however, to deny any request or rescind any permission granted by us to link through such other type of link, and to require termination of any such link to the Site, at our discretion at any time.

INDEMNITY

You agree to defend, indemnify and hold Artspace LLC, its directors, officers, employees, agents, vendors, partners, contractors, galleries, artists, institutions, distributers, representatives and affiliates harmless from any and all claims, liabilities, damages, costs and expenses, including reasonable attorneys' fees, in any way arising from, related to or in connection with your use of the Site, your violation of any law, your violation of the Terms or the posting or transmission of any User Content, or materials on or through the Site by you, including, but not limited to, any third party claim that any information or materials you provide infringes any third party proprietary right. You agree to cooperate as fully as reasonably required in the defense of any claim. Your indemnification obligation will survive the termination of these Terms and your use of the Site.

DISCLAIMER OF WARRANTIES

YOU UNDERSTAND AND AGREE THAT:

THE SITE, INCLUDING, WITHOUT LIMITATION, ALL CONTENT, FUNCTION, MATERIALS AND SERVICES IS PROVIDED "AS IS," WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, WITHOUT LIMITATION, ANY WARRANTY FOR INFORMATION, DATA, DATA PROCESSING SERVICES OR UNINTERRUPTED ACCESS, ANY WARRANTIES CONCERNING THE AVAILABILITY, ACCURACY, COMPLETENESS, USEFULNESS, OR CONTENT OF INFORMATION, AND ANY WARRANTIES OF TITLE, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. COMPANY DOES NOT WARRANT THAT THE SITE OR THE FUNCTION, CONTENT OR SERVICES MADE AVAILABLE THEREBY WILL BE TIMELY, SECURE, UNINTERRUPTED OR ERROR FREE, OR THAT DEFECTS WILL BE CORRECTED. Artspace MAKES NO WARRANTY THAT THE SITE WILL MEET USERS' EXPECTATIONS OR REQUIREMENTS. NO ADVICE, RESULTS OR INFORMATION, OR MATERIALS WHETHER ORAL OR WRITTEN, OBTAINED BY YOU THROUGH THE SITE SHALL CREATE ANY WARRANTY NOT EXPRESSLY MADE HEREIN. IF YOU ARE DISSATISFIED WITH THE SITE, YOUR SOLE REMEDY IS TO DISCONTINUE USING THE SITE.

ANY MATERIAL DOWNLOADED OR OTHERWISE OBTAINED THROUGH THE USE OF THE SITE IS DONE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGE THAT RESULTS FROM THE DOWNLOAD OF ANY SUCH MATERIAL.

Artspace DOES NOT ENDORSE, WARRANT OR GUARANTEE ANY PRODUCTS OR SERVICES OFFERED OR PROVIDED BY OR ON BEHALF OF THIRD PARTIES ON OR THROUGH THE SITE. Artspace IS NOT A PARTY TO, AND DOES NOT MONITOR, ANY TRANSACTION BETWEEN USERS AND THIRD PARTIES WITHOUT THE DIRECT INVOLVEMENT OF COMPANY.

LIMITATION OF LIABILITY

IN NO EVENT SHALL Artspace, ITS AFFILIATES OR ANY OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, PARTNERS, SUBSIDIARIES, DIVISIONS, SUCCESSORS, SUPPLIERS, DISTRIBUTORS, AFFILIATES VENDORS, CONTRACTORS, GALLERIES, ARTISTS, INSTITUTIONS, REPRESENTATIVES OR CONTENT OR SERVICE PROVIDERS BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL, CONSEQUENTIAL, EXEMPLARY OR PUNITIVE DAMAGES ARISING FROM OR DIRECTLY OR INDIRECTLY RELATED TO THE USE OF, OR THE INABILITY TO USE, THE SITE OR THE CONTENT, MATERIALS AND FUNCTION RELATED THERETO, INCLUDING, WITHOUT LIMITATION, LOSS OF REVENUE, OR ANTICIPATED PROFITS, OR LOST BUSINESS, DATA OR SALES, OR COST OF SUBSTITUTE SERVICES, EVEN IF COMPANY OR ITS REPRESENTATIVE OR SUCH INDIVIDUAL HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY SO SOME OF THE ABOVE LIMITATIONS MAY NOT APPLY TO YOU. IN NO EVENT SHALL THE TOTAL LIABILITY OF Artspace TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION (WHETHER IN CONTRACT OR TORT, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE OR OTHERWISE) ARISING FROM THE TERMS OR YOUR USE OF THE SITE EXCEED, IN THE AGGREGATE, $100.00. WITHOUT LIMITING THE FOREGOING, IN NO EVENT SHALL Artspace OR ITS RESPECTIVE OFFICERS DIRECTORS, EMPLOYEES, AGENTS, SUCCESSORS, SUBSIDIARIES, DIVISIONS, DISTRIBUTORS, SUPPLIERS, AFFILIATES OR THIRD PARTIES PROVIDING INFORMATION ON THIS SITE HAVE ANY LIABILITY FOR ANY DAMAGES OR LOSSES ARISING OUT OF OR OTHERWISE INCURRED IN CONNECTION WITH THE LOSS OF ANY DATA OR INFORMATION CONTAINED IN YOUR ACCOUNT OR OTHERWISE STORED BY OR ON BEHALF Artspace.

You hereby acknowledge that the preceding paragraph shall apply to all content, merchandise and services available through the Site.

Applicable Law/Jurisdiction

You agree that the laws of the state of New York, excluding its conflicts-of-law rules, shall govern these Terms. Please note that your use of the Site may be subject to other local, state, national, and international laws. You expressly agree that exclusive jurisdiction for resolving any claim or dispute with Artspace relating in any way to your use of the Site resides in the state and federal courts of New York County, New York, and you further agree and expressly consent to the exercise of personal jurisdiction in the state and federal courts of New York County. In addition, you expressly waive any right to a jury trial in any legal proceeding against Artspace its parent, subsidiaries, divisions, or affiliates or their respective officers, directors, employees, agents, or successors under or related to these Terms. Any claim or cause of action you have with respect to use of the Site must be commenced within one (1) year after the claim arises.

Consent to Processing

By providing any personal information to the Site, all users, including without limitation users in the European Union, fully understand and unambiguously consent to the collection and processing of such information in the United States.

Any inquiries concerning these Terms should be directed to us at the address below.

Risk of Loss

The items purchased from our Site are shipped by a third-party carrier pursuant to a shipment contract. As a result, risk of loss and title for such items may pass to you upon our delivery to the carrier.

Purchasing

Artspace and its partners strive for complete accuracy in description and pricing of the products on the Site. However, due to the nature of the internet, occasional glitches, service interruptions or mistakes may cause inaccuracies to appear on the Site. Artspace has the right to void any purchases that display an inaccurate price. If the displayed price is higher than the actual price, you may be refunded the overcharge. If the displayed price is less than the actual price, Artspace will void the purchase and attempt to contact you via either phone or email to inquire if you would like the item for the correct price.

You acknowledge that temporary interruptions in the availability of the Site may occur from time to time as normal events. Also, we may decide to cease making available the Site or any portion of the Site at any time and for any reason. Under no circumstances will Artspace or its suppliers be held liable for any damages due to such interruptions or lack of availability.

Notices

Notices to you may be made via either email or regular mail. The Site may also provide notices of changes to the Terms or other matters by displaying notices or links to notices to you on the Site.

Contests

In the event of a dispute regarding the identity of the person submitting the entry, the entry will be deemed to be submitted by the person in whose name the e-mail account is registered. All drawings will be conducted under the supervision of Sponsor. The decisions of the Sponsors are final and binding in all matters relating to this contest. Sponsors reserve the right, at its sole discretion, to disqualify any individual it finds, in its sole discretion, to be tampering with the entry process or the operation of the Contest or the Website located at www.artspace.com; to be in violation of the Terms of Service of the Website; to be acting in violation of these Official Rules; to be acting in a disruptive manner, or with intent to annoy, abuse, threaten or harass any other person. If for any reason this Contest is not capable of running as planned due to infection by computer virus, bugs, tampering, unauthorized intervention, fraud, technical failures, or any other causes which, in the sole opinion of Sponsor, corrupt or affect the administration, security, fairness, integrity, or proper conduct of this Contests, Sponsor reserve the right to cancel, terminate, modify or suspend the Contest.

Limitations of Liability

SPONSOR DOES NOT ASSUME RESPONSIBILITY FOR ANY ERROR, OMISSION, INTERRUPTION, DELETION, DEFECT, DELAY IN OPERATION OR TRANSMISSION, COMMUNICATIONS LINE FAILURE, THEFT OR DESTRUCTION OR UNAUTHORIZED ACCESS TO ITS WEBSITES. SPONSOR IS NOT RESPONSIBLE FOR ANY PROBLEMS OR TECHNICAL MALFUNCTION OF ANY TELEPHONE NETWORK OR TELEPHONE LINES, COMPUTER ON-LINE SYSTEMS, SERVERS, COMPUTER EQUIPMENT, SOFTWARE, FAILURE OF ANY E-MAIL OR ENTRY TO BE RECEIVED BY SPONSOR ON ACCOUNT OF TECHNICAL PROBLEMS, HUMAN ERROR OR TRAFFIC CONGESTION ON THE INTERNET OR AT ANY WEBSITE, OR ANY COMBINATION THEREOF.
SPONSOR IS NOT RESPONSIBLE FOR ANY INCORRECT OR INACCURATE CAPTURE OF INFORMATION OR THE FAILURE TO CAPTURE SUCH INFORMATION, WHETHER CAUSED BY WEBSITE USERS, TAMPERING OR HACKING, OR BY ANY OF THE EQUIPMENT OR PROGRAMMING ASSOCIATED WITH OR UTILIZED IN THE CONTEST. SPONSOR IS NOT RESPONSIBLE FOR INJURY OR DAMAGE TO PARTICIPANTS’ OR TO ANY OTHER PERSON’S COMPUTER RELATED TO OR RESULTING FROM PARTICIPATING IN THIS CONTEST OR FROM OR USE OF THE WEBSITE.
IN NO EVENT WILL SPONSOR, OR THEIR PARENT COMPANIES, DISTRIBUTORS, AFFILIATES, SUBSIDIARIES, OFFICERS, VENDORS, AND AGENCIES, EACH OF THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES ARISING OUT OF YOUR PARTICIPATION IN THIS CONTEST, ACCESS TO AND USE OF THE WEBSITE OR THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE WEBSITE. WITHOUT LIMITING THE FOREGOING, EVERYTHING ON THE WEBSITE AND IN THIS CONTEST IS PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE OR NON-INFRINGEMENT. SOME JURISDICTIONS MAY NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES OR EXCLUSION OF IMPLIED WARRANTIES SO SOME OF THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU. CHECK YOUR LOCAL LAWS FOR ANY RESTRICTIONS OR LIMITATIONS REGARDING THESE LIMITATIONS OR EXCLUSIONS.

Disputes

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.

As a condition of participating in Contests, you agree that any and all disputes which cannot be resolved between the parties, claims and causes of action arising out of or connected with this Contest, or any prizes awarded, or the determination of the winner shall be resolved individually, without resort to any form of class action exclusively by arbitration pursuant to the commercial arbitration rules of the American Arbitration Association, then effective. Further, in any such dispute, under no circumstances will you be permitted to obtain awards for, and you hereby waive all rights to claim punitive, incidental or consequential damages, or any other damages, including attorneys’ fees, other than your actual out-of-pocket expenses (i.e., costs associated with entering this Contest), and you further waive all rights to have damages multiplied or increased. All issues and questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or your rights and obligations or Sponsor’s rights and obligations in connection with this Contest, shall be governed by, and construed in accordance with, the laws of the State of New York, U.S.A., without giving effect to the conflict of laws rules thereof, and all proceedings shall take place in that State in the City and County of New York.
In the event of a dispute as to the identity of the winner based on an e-mail address, the winning entry will be declared made by the authorized account holder of the e-mail address submitted at time of entry. “Authorized account holder is defined as the natural person who is assigned to an e-mail address by an Internet access provider, on-line service provider or other organization (e.g., business, educational, institution, etc.) that is responsible for assigning e-mail addresses for the domain associated with the submitted e-mail address

Contacting Us

To contact us with any questions or concerns in connection with this Agreement or the Site, or to provide any notice under this Agreement to us please go to Contact Us or write to us at:

General Information

The Terms constitute the entire agreement between you and Artspace and govern your use of the Site, superseding any prior agreements between you and Artspace. You also may be subject to additional terms and conditions that are applicable to certain parts of the Site.

You agree that no joint venture, partnership, employment, or agency relationship exists between Artspace and you as a result of this Agreement or your use of the Site.

Any claim or cause of action you may have with respect to Artspace or the Site must be commenced within one (1) year after the claim or cause of action arose.

Our failure to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision. If any provision of the Terms is found by a court of competent jurisdiction to be invalid, the parties nevertheless agree that the court should endeavor to give effect to the parties' intentions as reflected in the provision, and the other provisions of the Terms remain in full force and effect.

You may not assign the Terms or any of your rights or obligations under the Terms without our express written consent.

The Terms inure to the benefit of Artspace's successors, assigns and licensees. The section titles in the Terms are for convenience only and have no legal or contractual effect.

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How it Works

How bidding works

To place a bid, enter the maximum amount you are willing to pay for the work. Artspace will accept a bid at the next increment, and save any excess amount as a maximum bid. If you are outbid, we will continue bid on your behalf up to your maximum bid.

Bid Increments

Bidding increments increase at the following intervals:

Below $400: $50

Between $400 and $699: $100

Between $700 and $1,499: $200

Between $1,500 and $2,499: $300

Between $2,500 and $4,999: $500

Between $5,000 and $9,999: $1,000

Between $10,000 and $19,999: $2,000

Between $20,000 and $29,999: $3,000

Between $30,000 and $49,999: $4,000

Between $50,000 and $99,999: $5,000

Above $100,000: $10,000

You will receive an email confirmation of your bid and when you are outbid.

If you are the winning bidder, you will be contacted 48 hours after of the close of the auction.

Maximum Bidding

Every bid submitted is treated as a maximum bid. You should always bid the maximum you are willing to spend for a work, though this does not necessarily mean you will pay that price. As the auction unfolds, we will increase your bid by increments to ensure you remain the highest bidder. If the winning amount is less than your maximum bid, you will pay the current increment. If your maximum bid no longer exceeds the current bid, you will receive an outbid notification email, and have the option to bid again.

In the case of multiple bidders placing the same maximum bid, the first person to place the maximum amount takes precedence as the highest bid until another bidder exceeds the maximum amount.

Buyer's Premium & Additional Charges

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. For Artspace Benefit Auctions, Buyer's Premiums are not applied. If they are, this will be clearly noted. Purchases made from all auctions, including benefit auctions, are subject to sales tax.

Check Out

Winning bidders will be contacted within 48 hours to arrange shipping and to provide final price including commission, shipping, and taxes and duties when applicable. Promotion codes cannot be applied to auction works.

Credit Card Validation

In order to secure a bid, please enter your credit card details below.
We will not charge your card but only use it to validate your bid.
We only need to validate your card once. You will be notified that you are the winning bidder
before your card is charged, and you will have the option to change your payment method at that time.

Frame

All our frames are manufactured in the USA, using eco-friendly & sustainably sourced engineered hardwood for durability and a uniform finish that is free of defects. Frames are available in Black or White Satin and Honey Pecan.

White Satin

Honey Pecan

Black Satin

Mat

All prints are hinged to a conservation quality, acid-free and lignin-free Alpha Cellulose matboard, using an acid-free linen tape. The mat's surface paper is fade and bleed resistant and is attached to a conservation quality foam-core mounting board that will keep the work safe from deterioration over time. Artworks with a deckled or decorative edges will be floated on the matboard, with acrylic spacers to separate the art from the glazing. All mounting is fully reversible, without any potential damage to the art.

Acrylic Glazing

All of our frames come with picture quality .090 mm plexiglass, which blocks 66% of UV to prevent color fading from exposure to light, keeping your art protected for years to come. It is now considered the industry standard for artists, museums and galleries throughout the world.

Dimensions

For images up to 30" x 40"

1 1/4” wide, 3/4” deep, with a 2 1/2” wide mat.

We generally leave 1/4” - 1/2” of paper showing around the image, to accommodate signatures and for visual appeal.

You will be redirected to Affirm to provide your information for real-time decision. Choose to pay over 3, 6, or 12 months.*

3

Enjoy your purchase immediately

Complete your purchase in Affirm and you'll be redirected to Artspace to view your order confirmation.

* Subject to credit check and approval. Down payment may be required. For purchases under $100, limited payment options are available. Estimated payment amount excludes taxes and shipping fees. Affirm loans are made by Cross River Bank, a New Jersey-chartered bank, Member FDIC. See www.affirm.com/faqs for details.